Abstract
This article discusses ways in which shared musical lines such as unisons or pitch repetitions can increase and intensify a sense of bonding between performers. Counterpoint-oriented analytical frameworks tend to reduce unisons and unison motion to a single line. By contrast, I propose that unisons’ performative dimension—which I refer to as sonic bridges—foregrounds their importance. Combining analysis with ethnography, I examine unison passages in two songs for piano and voice by Kaija Saariaho, “Parfum de l’instant” from Quatre instants (2002) and “Rauha” from Leinolaulut (2007). This article suggests that Saariaho’s use of sonic bridges not only enables two very different instruments—piano and voice—to compellingly blend, but also strengthens the empathy and bonding between singer and pianist, which further exposes the intimate, multisensory quality of these songs.